Avi sez, "'Mickey Mouse in Gurs' is a tragic 'comic' book made by Horst Rosenthal in 1942 while incarcerated at the Gurs internment camp in France. Rosenthal uses Mickey Mouse as a kind of subversive Virgil to guide us through the hellish experiences of the concentration camp. Horst Rosenthal was murdered in Auschwitz in 1942." --BoingBoing

A few of the many events scheduled in the Pittsburgh region.

"Of Faith and Kristallnacht," a panel discussion with keynote speaker Dr. Robert Ericksen, Pacific Lutheran University; Sister Gemma del Duca, National Catholic Center for Holocaust Education at Seton Hill University; and the Rev. Don Green, executive director of Christian Associates of Southwestern Pennsylvania; among others. 7 p.m., Wednesday, The Good Shepherd Lutheran Church, Monroeville (412-421-1500).

"The Use of Comic Books in Teaching the Holocaust," a lecture by Beverly Harris-Schenz of the University of Pittsburgh German Department, on teaching the Holocaust to German students. 8 p.m., Thursday, Jewish Community Center (412-421-1500).

"Brundibar," a children's opera originally performed by the children of Theresienstadt concentration camp, adapted by Maurice Sendak and Tony Kushner, Opera Theater of Pittsburgh. Friday through next Sunday, CAPA Theater, Downtown (412-456-6666).

--Pittsburgh Post-Gazette

What can be learned from Fitzgerald's tax returns? To start with, his popular reputation as a careless spendthrift is untrue. Fitzgerald was always trying to follow conservative financial principles. Until 1937 he kept a ledger--as if he were a grocer--a meticulous record of his earnings from each short story, play, and novel he sold. The 1929 ledger recorded items as small as royalties of $5.10 from the American edition of The Great Gatsby and $0.34 from the English edition. No one could call Fitzgerald frugal, but he was always trying to save money--at least until his wife Zelda's illness, starting in 1929, put any idea of saving out of the question. The ordinary person saves to protect against some distant rainy day. Fitzgerald had no interest in that. To him saving meant freedom to work on his novels without interruptions caused by the economic necessity of writing short stories. The short stories were his main source of revenue. --William J. Quirk, The American Scholar

I assigned book one of Maus: A Survivor's Tale to a "Writing About Literature" class, the designated writing-intensive course for our English majors.

The students discussed the abrupt ending, the use of ethnic stereotypes, and of course the comic book medium itself. One student's "Hearing through Yiddish... Seeing in Ink..." is particularly thoughtful.

About a third of the class went on to read book two, even though it wasn't on the syllabus; one student read the book aloud to her nine-year-old sister.

This weekend, Seton Hill is home to a conference sponsored by the National Catholic Center for Holocaust Education.  I'm canceling all my classes during one day of the conference.

Don't hate on the TV media just because they helped the nation fall for the Balloon Boy Hoax. Back in the day, the print media were the obvious target.

On April 13, 1844, Edgar Allan Poe wrote an article in The New York Sun, chronicling how Monck Mason, leaving England for Paris drifted off course and had traveled across the Atlantic in three days, landing safely on Sullivan's Island near Charleston South Carolina, while riding an ``egg-shaped gas-filled balloon'', named the Victoria.

The story caused such a stir that an excited mob quickly gathered outside of the editorial offices of the Sun, hoping to land a copy of the historic edition. Not until two days later did the New York daily publish a correction, noting the story was pure fiction. The published correction read: ``We are inclined to believe the intelligence is erroneous.'' -- The Morning Delivery

In the figure of the coltish, resolute Sigourney Weaver, Alien may just be the film that overhauled the old, unreconstructed horror genre and dared to put a woman centre-stage. Because make no mistake: a horror movie is what Alien is. "It's basically a haunted house film," explains the critic David Thomson. "The only difference is that the old dark house just happens to be a spaceship." --Xan Brooks, Guardian

Alien came out thirty years ago.  Thirty years ago!

I would have just turned 11.  I remember reading all about the movie in Starlog (a science fiction magazine my sister and I read from about issue #6 or #7, and we later ordered back issues so we had the complete set), and I remember seeing advertisements for Alien-themed toys, but I wondered who would want them... I'm sure I saw an edited version of the movie on TV, or maybe I rented the video, but I really wasn't into horror. 

The sequel, Aliens, came out when I was a teenager, and was a big hit with my peer group. It made me re-watch the first film, and I appreciated it more. 

I did watch the third film once, but I settled for reading an online version of the script for the fourth movie.

But honestly... thirty years?

Though moribund today, for decades Usenet was the paper of record for the online world, and its hundreds of millions of "newsgroup" postings chronicle everything from the birth of the web to the rise of Microsoft, as well as more trivial matters.

In February 2001, Google rescued that history when it acquired the New York-based Deja.com, and with it a Usenet archive going back to 1995.

[...]

Flash forward nearly eight years, and visiting Google Groups is like touring ancient ruins.  --Kevin Poulsen, Wired

Old joke... when's the best time to air a radio drama? 1937. 

Radio is still around, but the salary of TV personality Katie Couric " is more than the entire annual budgets of NPR's Morning Edition and All Things Considered combined." (so says Michael Massing).  If you knew nothing about the internet beyond what you learned about it from the TV news, you'd probably think it was full of child predators, weirdos, and clips of babies dancing to pop music.

But not too long ago, TV was the strange new medium that changed the way people spent their leisure time, and the way advertisers spent their marketing budgets, despite the wishes of the established old media titans.

Network TV lost vast amounts of money in its early years. It was only because the existing ­radio networks were willing to subsidize TV that it survived--leaving CBS and NBC at the top of the heap in the '50s and '60s, just as they had been in the '30s and '40s. The old media of today have a similar chance to prosper tomorrow if they can survive the heavy financial losses that they're incurring while they develop workable new-media business models.

Established radio performers such as Benny and Hope, who embraced TV on its own visually oriented terms, flourished well into the '60s. Everyone else--­including Fred Allen--vanished into the dumpster of entertainment history. The same fate awaits contemporary old-media figures unwilling to grapple with the challenge of the new media, no matter how popular they may be today.

Americans of all ages ­embraced TV unhesitatingly. They felt no loyalty to network radio, the medium that had entertained and informed them for a quarter-century. When something came along that they deemed superior, they switched off their radios without a second thought. That's the biggest lesson taught by the new-media crisis of 1949. Nostalgia, like guilt, is a rope that wears thin. --Terry Teachout, Wall Street Journal

Okay, I admit it, being known as the academic expert on a singe indie computer game from the 1970s is something like saying "I'm the handsomest one-eyed pirate on this particular ship, today," which might well be true, but doesn't exactly mean very much.

Still, I'm thrilled that I could be part of Jason Scott's forthcoming text adventure documentary.  I had a fever of 101 when he interviewed me a few years ago, and then a few months later he offered to fly me back to Mammoth Cave for a follow-up interview, but that semester I had missed three weeks of classes due to pneumonia, and I was barely on my feet again, and my systems were operating at about 40% capacity at that time, so I had to turn him down.

Anyway, it's great to see evidence that he's making progress on his movie.

Finishing off a first version of the Adventure portion of GET LAMP, I am reminded of some of the shortcomings of the documentary form - when there's a ton of information, an absolute pile of detail or aspects about a subject, you will be given a tantalizing amount of insight into a subject but crave more.

Or maybe you won't crave more. For some, the subject covered over a few minutes will be sufficient. But for some of us, a certain few, you want to find out every last thing. And not just find it out... find it out definitively, where observation and verification rule the day, and not best-guesses and what-is-saids polluting the landscape.

To that end, as regards the game Adventure and its roots in real caving, as well as exactly what parts the two authors played in the project, you will simply not do any better than Dennis G. Jerz' Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original "Adventure" in Code and in Kentucky. It is, very simply, the last word on the subject - I can't imagine anyone going further than this into the history and aspects of Adventure any of us might want an answer to. --Jason Scott

I'm looking for a current book that presents gaming theory at a level appropriate for a 200-level undergraduate course.  I have only scanned through the section of Tanja Sihvonen's work, Players Unleashed! Modding <i>The Sims</i> and the Culture of Gaming (PDF), that deals with Colossal Cave Adventure. I'm not too happy with what I found there, since it seems I disagree with a Wikipedia article. (See footnote 251.)

Yes, it is true that several of my sources claim a 1975-76 date, but the phrasing suggests that some of my sources might agree with the 1972 date.  In fact, except for people who were simply repeating what they had read about the creation of Colossal Cave Adventure, not a single one of the sources I interviewed specified a date before 1975, and the earliest digital evidence is dated 1977.  To put it another way, every single one of the sources who played Crowther's original game specified a date of 1975 or later.

Those "written sources, including the Wikipedia entry" that mention the 1972 date are wrong, as I explain in the article Sihvonen cites. (Why do I suddenly feel empathy for every B-movie mad scientist who shouts "Fools! I shall crush them all!"?)

I can, and do, regularly edit the Wikipedia entry to remove the factual errors, but what can I do to combat the errors that made it into print before I published what I found out about the timeline?

Of course, Sihvonen is right -- it is a fact that many sources have printed the 1972 date.  I listed several of these sources in the section of my article where I thoroughly debunk them.  And who am I to argue with ink on paper?  All I have on my side is thoroughly cross-checked oral testimony and e-mail messages from people who have first-hand knowledge of the events in question. How can that stand up against "many written sources"?  What was I thinking!

One day, perhaps I can spend months and years gathering primary information, carefully assemble it all in a coherent, insanely detailed package, get it peer reviewed by scholars who know what they are talking about, and then somehow, if fortune blesses my efforts, find a magic way that the full text of my findings could be available, for free, somewhere in an online digital network, so that I could direct interested readers to paragraphs 79-83 of a document located at http://www.digitalhumanities.org/dhq/vol/001/2/000009.html.

I just noticed that Jason Scott has redesigned the home page for his film website. Good things are worth the wait. I'm content to wait.

Here's how Ebert ended a review he wrote yesterday:

It's said that Richard Harding Davis was dispatched by William Randolph Hearst to cover the Johnstown flood. Here was his lead: "God stood on a mountaintop here and looked at what his waters had wrought." Hearst cabled back: "Forget flood. Interview God."

A wonderful story. Checking out the quote online, I found a blog entry by Dennis G. Jerz of Seton Hill University, reporting that I have related this same story four times in print since 1993, sometimes changing it slightly. Good gravy! My only defense for using it once again is that it's more interesting than anything else I could write about "The Answer Man." -- Roger Ebert

He's talking about "Forget Flood. Review Movies."

Mark Bernstein (hypertext publisher and theorist) makes some good observations about the print-based newspaper industry:

I remember visiting the Chicago Sun Times/Daily News building as a kid, where my best friend's dad was a columnist. The place was huge! But it wasn't filled with middle managers; it was filled with compositors and pressmen and ad sales clerks. You didn't just need someone to mark up the HTML; you had to cast the letters in lead type. And, if you needed to make a change, someone had to go take the plates off the press, melt them down, cast new plates, and start the press up again.

Keep in mind, too, the problems of doing business without computers. Every little transaction generates paper, and that paper needs to be reliably filed and quickly retrieved. Every transaction: two bucks for the delivery boy, the rent for the Paris office, the fee for the department store ads. Every paycheck had to be computed and written out by hand, in duplicate. Even in the 70's, the fax machine was so new and faxes were so slow that Peter Gammons was able to write the story of a lifetime faster than the fax machine could send it.

If anything, the newsroom of old was notably short on bureaucracy. That was the whole point of the news room: you had a huge open office in which dozens of people worked because all those dozens of people reported to one editor. Some of those dozens would turn out to be idiots, some of them would be crazy, plenty of them were drunks, and all of them were prone to be unmanageable. Even so, there are remarkably few layers of bureaucracy.

Tom Wolfe (author of space program biography The Right Stuff (which incidentally was the movie I took my first-ever date to see back in 1983) ) describes how the Cold War derailed the grand adventure of space exploration. Shockingly, the decay started while the Apollo program was still underway.

[I]n October 1969, I began to wonder ... I was in Florida, at Cape Kennedy, the space program's launching facility, aboard a NASA tour bus. The bus's Spielmeister was a tall-fair-and-handsome man in his late 30s ... and a real piece of lumber when it came to telling tourists on a tour bus what they were looking at. He was so bad, I couldn't resist striking up a conversation at the end of the tour.

Sure enough, it turned out he had not been put on Earth for this job. He was an engineer who until recently had been a NASA heat-shield specialist. A baffling wave of layoffs had begun, and his job was eliminated. It was so bad he was lucky to have gotten this stand-up Spielmeister gig on a tour bus. Neil Armstrong and his two crew mates, Buzz Aldrin and Mike Collins, were still on their triumphal world tour ... while back home, NASA's irreplaceable team of highly motivated space scientists -- irreplaceable! -- there were no others! ...anywhere! ... You couldn't just run an ad saying, "Help Wanted: Experienced heat-shield expert" ... the irreplaceable team was breaking up, scattering in nobody knows how many hopeless directions.

How could such a thing happen? In hindsight, the answer is obvious. NASA had neglected to recruit a corps of philosophers.

The first man on the moon doesn't feel his life is defined by being the first man on the moon? As if the world would remember much more than Armstrong's "one piece of fireworks"? Would his name belong beside Magellan's or Marco Polo's if not for Armstrong's singular achievement? --Paul Farhi, Washington Post

Walter Cronkite, the CBS News anchor who famously became the most trusted man in America, died Friday at the age of 92.--NPR

Talk about penny wise and pound foolish!

NASA admitted in 2006 that no one could find the original video recordings of the July 20, 1969, landing.

Since then, Richard Nafzger, an engineer at NASA's Goddard Space Flight Centre in Maryland, who oversaw television processing at the ground-tracking sites during the Apollo 11 mission, has been looking for them.

The good news is he found where they went. The bad news is they were part of a batch of 200,000 tapes that were degaussed -- magnetically erased -- and re-used to save money. --Reuters

So the tapes NASA recently released are restored from less-degraded copies.

Amazing!

A great interview, on Adventure Classic Gaming.

Was something like Adventure inevitable? That's a tough question, but I think probably so. I'd say that the real wild-card here is not Adventure but rather Adventure's inspiration, Dungeons and Dragons. You just can't exaggerate the importance of D&D to all of the many storygames that have followed it. It really did revolutionize the way we look at stories and games and the combination of the two in a way totally out of proportion to the number of people who have ever actually played it. But then, we could make exactly the same statement about Adventure, couldn't we? Every story-oriented computer game today, including graphical adventures, can trace its roots straight back to Adventure -- and from Adventure, straight back to D&D.

I'm not omniscient, but yes, I think we'd have something like Adventure come along, probably sooner rather than later, absent Crowther and Wood. Would it have used such a flexible parser for interaction, though? I don't know, really. Certainly the many IF conventions that we still employ that have come down to us from Adventure would be a bit different. We can also say for sure that adventure games wouldn't be called adventure games -- that name is lifted straight from the original Adventure, which might perhaps begin to convey to your readers Adventure's importance in the scheme of things.

But what would the computer gaming landscape look like if Gygax and Arnenson had never invented D&D? Now that's an interesting question, and one I'm not even going to attempt to answer here! -- Jimmy Maher

I like Maher's answer.  A few years ago, David Thomas asked me the same question, and I blogged a tongue-in-cheek response that nevertheless laid out some of the impact of this particular game.

A website will re-create the 1969 moon mission in real time (allowing for the 40-year time lag).  http://wechoosethemoon.org/

This weekend, how can the kids and I spend our time better than playing:

• Political Machine 2008 (try explaining "special interest groups" to a seven-year-old)
• Liberty's Kids (1776, from the perspective of Ben Franklin's printing apprentice, among others)
  
• Sid Meier's Civil War Collection (sort of a stretch, I know, but the fate of the union was at stake)
• The Oregon Trail, 5th Edition (You have died of dysentery)

We don't own a copy, but we always try to rent the musical 1776.

The grainy images of Neil Armstrong stepping onto the moon have been grist for the moon conspiracy theory mill for decades.

The final loss in quality came when Nasa made its US recording of the event--the one always seen in archive footage--by simply placing a 16mm film camera in front of a television monitor in the US.

However, it is the original magnetic tapes recorded back at the Parkes Observatory in Australia that contained the unadulterated and highest quality images.

To the later horror of researchers and scientists, it was those tapes that went missing.

But now, according to the Daily Express, the original high-quality recordings have been found. (It looks like NASA was planning to surprise the world a little closer to the 40th anniversary of the moon landing.)

Teen tries out a Walkman for a week.

It took me three days to figure out that there was another side to the tape. That was not the only naive mistake that I made; I mistook the metal/normal switch on the Walkman for a genre-specific equaliser, but later I discovered that it was in fact used to switch between two different types of cassette. --Scott Campbell, BBC

This is from the online version of a paper being presented at Hypertext09.

I already knew the general shape of the history, and I'm not sure that the author is actually providing us with a new take or a new insight (the introduction simply establishes the facts, rather than emphasizing how a new archival discovery, historical or critical approach, or point of view shapes and organizes those facts).  Nevertheless, I was impressed with the references that carefully walk through events from the dawn of the blogosphere.

Today's blogosphere with its wealth of discursive practices is, in Jay Bolter's phrase, a writing space.^[1] It did not start this way. The blogosphere had an immediate historical predecessor, the weblog community, in which the weblog held a rhetorically ambiguous and contested status between a writing space that answered an author's expressive needs and an access structure^[2] through which an editor was meant to aggregate and annotate the Web's undiscovered riches. The conflict between access structure and writing space appears under a number of different names in the writings of Rebecca Blood, the weblog community's foremost apologist and chronicler, who describes it as an antagonism that split the community at its core: those who, like herself, believed that weblogs performed a "valuable filtering function"^[3] and aimed to be "dependable sources of links to reliably interesting material"^[4]:54 increasingly found themselves opposed to - and outnumbered by - an "influx of short-form diarists" who wouldn't link but posted "entry after entry of blurts and personal observations,"^[5]:149 thus "inverting the primary values of the community."^[5]:154 -- Rudolph Ammann

Long before web forums, blogs, Twitter, and in many cases, the web itself, Usenet was where the internet gathered to shoot the breeze about anything and everything under the sun. -- Koala eye

A former Infocom beta-tester re-discovers interactive fiction (and enters the interactive fiction competition)

Back then in the mid-80s, the only (decent) interactive fiction was being produced by Infocom, the almost legendary, and now defunct, software company formed by a bunch of MIT grads.

After cutting my teeth on the Zork series, Enchanter, Infidel, and Witness on my old Apple II+, I somehow heard about the concept of "beta testing" and got the bright idea to apply to Infocom to test their games.  With the encouragement of my parents, I sent in a letter to them, and to my amazement I got accepted! -- Matt Wigdahl

I enjoy steampunk, a cultural aesthetic which celebrates what both ordinary and extraordinary things might look like, had technology progressed along the lines that Jules Verne and his contemporaries imagined. As a literary subgenre, it imagines that the immeasurable power of steam has opened the skies, leading legions of top-hatted gentlemen-explorers and parasol-wielding adventuresses to the heavens beyond.

With steampunk on my mind, after submitting the final semester grades, I took a moment to celebrate by poking through the stacks. I found this absolutely beautiful book, A History of the Growth of the Steam Engine, by Robert H. Thurston, published in 1878. (Full text via Google Books.)

This isn't just a retro aesthetic, reacting against the streamlined and textureless Apple assembly line, or a self-conscious choice to make every bolt and gear visible in order to force us to come into direct contact with the technology. This is the real thing.
This engraving of the Worthington Pumping-Engine made my heart stop.

I also love the detail in this Compound Marine Engine. It's proportioned so that it looks to my eye almost like a desk toy, but I assume that's a person-sized hatchway visible on the left image. No riveted portholes? C'mon! I left the pages and my hand in the frame, so you can get a better idea of the materiality, the hefty bookiness of this book.

With the recent release of the new Star Trek, I started to wonder how is this going to affect the kids? Thankfully, mine have heard of and have watched plenty of the original series, so I didn't have to worry about their state of mind. But there are a lot of kids out there who think that this new movie is Star Trek. That it's some flashy action adventure space movie with chiseled young actors and massive special effects. While that's all well and good, since it's a reboot for the purpose of gathering new fans, I think it's important that kids have a sense of history when it comes to things as influential as Star Trek. GeekDad, Wired

My 7-year-old daughter just finished watching a YouTube version of More Tribbles, More Troubles, the 1970s animated return of the Tribbles.

The embedded preview of Evercracked! was very, very slow when I checked it just now, so I haven't watched it, but the UK Guardian article on videogame documentaries also includes some links to existing movies.

The King of Kong: Fistful of Quarters
A fascinating look at the bizarre rivalry between gamers Steve Wiebe and Billy Mitchell as they vie for dominance of Nintendo's Donkey Kong coin-op. Met with huge critical acclaim on its release two years ago.

Chasing Ghosts
Joyfully nostalgic ode to the arcades of the early eighties. Performed well in film festivals in 2007, but is hard to track down now.

8Bit
Described as, "a mélange of a rocumentary, art expose and a culture-critical investigation" this is a more cerebral approach to the subject matter, analysing the impact of game graphics on art and music, with a nod toward the chiptune scene.

Frag
Reasonably recent documentary on professional gaming circuit, considering the dedication of the players but also the corruption, money and drugs seemingly blighting the emerging sport.

I hope soon to see the forthcoming Get Lamp on this list.

While scanning the coverage of the 20th anniversary of the Tiananmen Square massacre, I found this interesting editorial, which questions the depiction of the student protesters as pro-democracy.

The truth is that the students in the square had only the haziest understanding of western-style democracy. To the extent that the protests were directed at abuses of an existing system by an emerging elite, they were motivated more by outrage at the betrayal of socialist ideals than by aspirations for a new system. The mood in the square was at least as much conservative as it was activist.

Such arguments may seem arcane two decades later. But, in my view, they are keenly relevant. The styling of Tiananmen as a pro-democracy movement helped to miscast the west's narrative on China's past and future.--James Kynge, Financial Times